I Do Not Want What I Haven't Got
release date: Mar. 12, 1990
format: cd / 2 cd (Ltd. Edition) (2009 reissue)
[album rate: 4 / 5] [4,22]
producer: Sinéad O'Connor, Nellee Hooper
label: Ensign / Chrysalis - nationality: Ireland
2nd studio album by Sinéad O'Connor following 2½ years after
The Lion and the Cobra (Oct. 1987) is regarded as O'Connor's humongous international breakthrough, although, she was already more than an upcoming star after the debut. Only with this, she instantaneously entered the very top of the pop scene. The immense succes of the predecessor asked for O'Connor to perform live and it paved way for her as a featuring vocalist on other artists' releases and songs, e.g. "The Kingdom of Rain" by The The on his
Mind Bomb from 1989, which together with her new-found role as a young mother may explain the more than two years of waiting time for this follow-up. Also, O'Connor married producer and drummer John Reynolds in '89, and the same year she underwent a miscarriage.
Now, if the debut was experienced as a rare and unexpected triumph, I wonder how O'Connor herself and the people around her should describe the overwhelming success that followed this very album. It's generally well-produced and arranged, it's just that when comparing to The Lion..., this is much more of a mainstream pop / rock-sounding album. Not that it makes it bad but... the debut contained a spark and an energy that has vanished here. The main difference is how much this sounds like a mature artist's work, which is an amazing effort given it's her second album out! The production side to it is a work of perfection, and I only wish Hooper would have been granted more influence to contribute to an album that would have some of that kick and snare that you will find on Björk's debut album from '93. But that's a bit like being presented with a wonderful gift and you just want more, or something else, 'cause the production sound here is remarkable, and most fitting. Former Smith bassist Any Rourke contribute on three tracks, and a couple of other prominent names appear: Marco Pirroni and Jah Wobble, and then also drummer John Reynolds (married to O'Connor from 1989-'91 and the father of their son Jake) - he has been producer on several later albums by O'Connor, but most significant to the credits, I think, is the fact that O'Connor is herself credited for playing acoustic and electric guitars, keyboards, handling programming, working as arranger, producer, and for handling string arrangements. Now, I find that quite remarkable. On the debut, O'Connor delivered stark-naked and personal songs, and here she does that again - only with a greater twist with absolute banger songs. Not only does she open the doors to her private life, she appears as an artist without much protection, and that is of course an observation in retrospect. But it really show us what consequences life in the spotlight may come with a big price, and someone - at least a management and label personel should have paid more attention to inert pitfalls of public exposure.
Anyway, I vividly recall the year and the Summer that followed this album. And despite the fact that I don't place the album as a solid number 1 of 1990, it's undeniably THE album of the year, as it reached out to such an unprecedented variety of people. Personally, I have played and also appreciate two other albums even more but I do acknowledge the greater importance of this one, in a music historical perspective. It's just that, musical taste goes beyond sales numbers and general popularity. In retrospect, it's a giant of an album, and it should figure as a staple on any list comprising only the absolute best albums in popular music.
The 2009 expanded 2 disc cd issue doesn't add much greatness to the original. The bonus disc is reserved a few outtakes, some strange covers, and two live recordings. The best track here is the Cole Porter addition "You Do Something to Me", which was O'Connor's contribution to the fine
Red Hot + Blue Cole Porter tribute double album released Sep. 1990.
My own experience was one of mixed feelings regarding O'Connor and this album. My then girlfriend immediately purchased the album, as most of my acquiantances did. I didn't. For me, there was too much exposure of artist and album for me to ever turn full-hearted onto that train. That's just how it's always been. I almost never went along with the biggest crowds - except maybe for when speaking of U2, although, I did have mixed feeling when they released the Rattle and Hum-album, which I never enjoyed that much. Anyway, I think the same happened when speaking of O'Connor. Too many people loved that album, for me to be able to see it as something out of the extraordinary. I did, hower, listen a great deal to it, though. Mainly, because everyone else fancied it, and you couldn't go anywhere in the city without being exposed to the gigantic "Nothing Compares to U", or some other track from the album. My favourites back then were "The Emperor's New Clothes" and "The Last Day of Our Acquaintance", both of which I still consider among the strongest and most original songs here.
The album is rightfully enlisted in "1001 Albums You Must Hear Before You Die" as in an abundance of best of-lists, and it's a most recommended album to know of.
[
allmusic.com, Rolling Stone, Slant 4,5 / 5, Record Collector,
NME, Q MAgazine 4 / 5 stars ]
1. Neil Young
Ragged Glory - 2. Van Morrison
Enlightenment - 3. Sinéad O'Connor
I Do Not Want What I Haven't Got
